The Search for Meaning
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The Kabbalah Experience
The Kabbalah Experience By Rav Michael Laitman PhD The Kabbalah Experience LAITMAN KABBALAH PUBLISHERS By Rav Michael Laitman PhD Executive Editor: Benzion Giertz Editors: Clair Gerus, Irena Zolotova Translation: David Brushin, Chaim Ratz Proofreading: Susan Morales Kosinec Layout: Baruch Khovov Laitman Kabbalah Publishers Website: www.kabbalah.info Laitman Kabbalah Publishers E-mail: [email protected] THE KABBALAH EXPERIENCE Copyright © 2005 by MICHAEL LAITMAN. All rights reserved. Published by Laitman Kabbalah Publishers, 1057 Steeles Avenue West, Suite 532, Toronto, ON, M2R 3X1, Canada. Printed in Canada. No part of this book may be used or reproduced in any manner without written permission of the publisher, except in the case of brief quotations embodied in critical articles or reviews. ISBN: 0-9738268-0-0 FIRST EDITION: DECEMBER 2005 The Kabbalah Experience TABLE OF CONTENTS Chapter 1. The Thought of Creation ................................................... 13 Chapter2. The Wisdom of Kabbalah ................................................... 54 Chapter 3. The Study of Kabbalah ....................................................... 85 Chapter 4. Spiritual Work ...................................................................141 Chapter 5. The Desire for Pleasure: Discovery and Correction ........204 Chapter 6. Soul, Body and Reincarnation .........................................239 Chapter 7. Beliefs, Mysticism and The Supernatural ........................ 279 Chapter 8. Prayer, Request and Aim ..................................................310 -
Oral History Interview with Edward B. Thomas, 1983 April 28-May 10
Oral history interview with Edward B. Thomas, 1983 April 28-May 10 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Edward B. Thomas on April 28 & May 10, 1983. The interview took place in Seattle, Washington, and was conducted by John Olbrantz for the Archives of American Art, Smithsonian Institution. Interview DATE: APRIL 28, 1983 [Tape 1] JOHN OLBRANTZ: Ed, can you tell me a little bit about your background, where you were born, your early childhood experiences, your parents, who your father was, who your mother was, how they came to live in this part of the country? EDWARD THOMAS: Well, I was born in Cosmopolis, Washington, and many times when I've come through customs, when I was much younger and especially at the Mexican border, they would say, "Where were you born?" and I'd say, "Cosmopolis, Washington," they'd say, "Look, bud! Don't get funny with us." (laughter) But there actually is such a place as Cosmopolis, Washington. Nobody had any particular influence upon me, I would say, in my younger years as far as becoming interested in art, and particularly teaching art. I had a very severe illness when I was four and five years old and was confined to bed a lot, and so people brought me tablets and color crayons and pencils and stuff like that. -
Thermal Sustainability
$UFKLWHFWXUDO Liefooghe, M. 2019. Buildings for Bodies of Work: The Artist Museum After the Death and Return of the Author. Architectural Histories, +LVWRULHV 7(1): 12, pp. 1–13. DOI: https://doi.org/10.5334/ah.296 RESEARCH ARTICLE Buildings for Bodies of Work: The Artist Museum After the Death and Return of the Author Maarten Liefooghe Critiques of the cult of artists, life-and-work narratives, and the authority of authors over the meaning of their works not only unsettle the conventions of literary and art historical studies. They also challenge the importance of the artist museum and its architecture. Adopting Roland Barthes’ discussions of the ‘death’ and ‘return of the author’ of the late 1960s and early 1970s as a critical lens, this article examines how the architecture of artist museums reflects and contributes to the discursive construction of the resilient figure of the artist-author. To do so, the article compares the cultist make-up of the 19th- century Thorvaldsen Museum-Mausoleum (opened in 1848) with the resolutely work-centred museums of Van Gogh (1973) and Roger Raveel (1999). The architecture of the last two examples is significantly different, however. The Van Gogh Museum seemingly negates its monographic orientation, while the Raveel Museum amends a white cube logic with a reserved interpretation of artistic individuality and site-boundedness. Parallel to the institutional interpretation of a museum’s monographic mission, and the curators’ representation of the artist-life-work nexus in exhibitions, architecture is yet another element in a museum’s assemblage of an artist presented as a dead or revived author to its visitors. -
Vincent Van Gogh in Arles
VINCENT VAN GOGH IN ARLES “Van Gogh sur la route de Tarascon” Known also as “The painter on his way to work”, July 1888, 48 x 44 cm Formerly in the Kaiser-Friedrich-Museum, Magdeburg, Germany (Destroyed by fire in 1945) https://commons.wikimedia.org/wiki/File:Vincent_Van_Gogh_0013.jpg A Walk-Around of Selected Sites L. M. Boring Membre de l’Association des Artistes Alpicois, Le Pecq 28 February 2019 Vincent Van Gogh arrived in Arles by train on Monday, February 20, 1888, with an idea to found an artist colony in the south “Wishing to see a different light, thinking that looking at nature under a bright sky might give us a better idea of the Japanese way of feeling and drawing. Wishing also to see this stronger sun, because one could not understand Delacroix’s pictures from the point of view of execution and technique without knowing it, and because one feels that the colors of the prism are veiled in the mist of the North.” Oddly and by happenstance, when he arrived, he found the countryside covered in snow, and among his first paintings were soft landscapes of snow covered fields. He found lodging in the Hotel-Restaurant Carrel, but his stay ended badly over a billing dispute after only two months. Vincent signed a lease on May 1st for a small four-room two-story semi-detached house on the Place Lamartine, not far from the train station. Its stucco exterior was bright ochre, and it became known by Van Gogh’s paintings as La Maison Jaune, the Yellow House. -
PRODUCT INFO (Vinyl) August 18, 2017 INFO
PRODUCT INFO (Vinyl) August 18, 2017 Artist Percy Sledge Title The Percy Sledge Way Label Bear Family Productions Catalog no. BAF18034 Price code: BAF EAN 5397102180347 Format 1-LP 180g Vinyl Genre R&B, Soul No. of tracks 11 33:27 mns Release date August 18, 2017 INFO: • In March 1966, Atlantic Records released Percy Sledge’s best-known song, the million-selling When A Man Loves A Woman, an epochal Southern soul hymn • Sledge achieved his strongest success when devoting himself largely to mid-tempo tunes and soul ballads. • ’The Percy Sledge Way’ was originally released on Atlantic in 1967 and finds Sledge at the top of his game • 11 classic soul and R&B numbers including The Dark End of the Street, You Send Me, Drown In My Own Tears, I've Been Loving You Too Long (To Stop Now), and Just Out of Reach (Of My Two Empty Arms), a country song already a hit for Faron Young, Patsy Cline and Solomon Burke. • Re-issue with the original artwork, carefully re-mastered for Bear Family’s exquisite 180gram vinyl release. The American soul, R&B, and gospel singer Percy ’Tyrone’ Sledge (1940–2015) will always be remembered for recording When A Man Loves A Woman, an epochal Southern soul hymn. The million-selling tune was released on Atlantic Records in March 1966 and went to the top of the US R&B and pop charts. It was Atlantic’s first gold record! Although he recorded up-tempo tunes as well, Sledge achieved his strongest success when devoting himself largely to mid-tempo tunes and soul ballads and lyrics dealing with the emotions of loss and desire. -
Symphonieorchester Des Bayerischen Rundfunks
SYMPHONIEORCHESTER DES BAYERISCHEN RUNDFUNKS 19 | 20 WICHTIGER HINWEIS Leider musste Mikko Franck seine Mitwirkung an den Konzerten am 20./21. Februar 2020 in München krankheitsbedingt absagen. Wir dan- ken Klaus Mäkelä, dass er sich kurzfristig bereit erklärt hat, die Lei- tung der Konzerte zu übernehmen. Bitte be- achten Sie die damit verbundene Programm- änderung: Statt Apotheosis von Einojuhani Rautavaara werden – und dies erstmals in den Konzerten des BRSO – Zoltán Kodálys Tänze aus Galánta zu hören sein (siehe Rückseite). Der 24-jährige finnische Dirigent Klaus Mäkelä hat sich durch die Zusammenarbeit mit nam- haften Orchestern rund um die Welt bereits in- ternationale Anerkennung erworben und zählt zu den großen Talenten seiner Generation. Mit Beginn der Saison 2020/2021 übernimmt er die Position des Chef- dirigenten und Artistic Advisor des Oslo Philharmonic Orchestra. Der- zeit ist er Erster Gastdirigent des Swedish Radio Symphony Orchestra, Artist in Association der Tapiola Sinfonietta und Künstlerischer Direktor des Turku Music Festival. In der aktuellen Saison feiert Klaus Mäkelä eine Reihe wichtiger Debüts, u. a. beim NDR Elbphilharmonie Orchester, bei den Münchner Philharmonikern, bei den Bamberger Symphonikern, beim Nederlands Radio Filharmonisch Orkest, beim Orchestre Philhar- monique de Radio France, beim London Philharmonic Orchestra und beim City of Birmingham Symphony Orchestra, und erhält Wiedereinla- dungen vom MDR- und vom hr-Sinfonieorchester, vom Minnesota Orche- stra und von den Göteborger Symphonikern. An der Finnischen Natio- naloper gab er seinen Einstand mit Mozarts Zauberflöte. Seine musikalische Ausbildung erhielt Klaus Mäkelä an der Sibelius- Akademie in Helsinki in den Fächern Dirigieren bei Jorma Panula und Violoncello bei Marko Ylönen, Timo Hanhinen und Hannu Kiiski. -
Where Van Gogh Comes to Life a Journey to the Landmark Places Proud of Their Legacies As Artistic Settings for the Dutch Painter
C M Y K Sxxx,2015-12-27,TR,001,Bs-4C,E1_K1 10 FOOTSTEPS In Prague, a search for Kafka’s inspirations. 6 HEADS UP The liquor gets local in Iceland. 14 36 HOURS Exploring Warsaw, a chic new cultural capital. DISCOVERY ADVENTURE ESCAPE SUNDAY, DECEMBER27, 2015 K ALEX CRETEY-SYSTERMANS FOR THE NEW YORK TIMES Where van Gogh Comes to Life A journey to the landmark places proud of their legacies as artistic settings for the Dutch painter. House once stood, the sun-drenched Gauguin, and sliced a blade through his own Paris and Arles and St. Rémy in Provence, A vineyard as seen in By NINA SIEGAL Provençal home that was the subject of his ear, before admitting himself to the local and ultimately to the Parisian suburb of Au- van Gogh’s “Vignes Rouges” A few months ago, I stood at the corner of a 1888 oil painting, where he took a period of mental hospital. vers-sur-Oise, where his life was cut short landscape, with tall, elegant busy roundabout called Place Lamartine, “enforced rest” as he put it, in a pale violet- From March to August, I traveled to in his 37th year. cypresses near St.-Rémy- across from the Roman gates leading into walled “Bedroom” he depicted in oil paint- many of the landmarks of van Gogh’s artis- I was on the trail of the artist during Van de-Provence, France. Arles in southern France, on a spot that was ings three times that year. tic life, beginning in the Belgian mining Gogh Europe 2015, the year that commemo- pivotal in the life of Vincent van Gogh. -
Van Gogh Museum Enterprises 39 the Works Council 41
Van Gogh Museum Annual Report 2018 Van Gogh Museum Annual Report 2018 Contents Supervisory Board statement 5 1 Report of the Board 7 2018 in short 9 2 Overview of 2018 17 Museum Affairs19 The Mesdag Collection 26 Public Affairs28 Operations 36 Van Gogh Museum Enterprises 39 The Works Council 41 3 Appendices to annual report 43 Overview of the organisation 45 Social Annual Report 46 Acquisitions 48 Gifts 53 Supporters 54 Conserved works 57 Collection information 66 Overview of outgoing loans 67 Long-term loans to the VGM 76 Long-term loans to other museums 78 Research projects 79 Museum publications 81 Additional functions 82 Lectures and other academic activities 84 Publications employees 87 Supervisory Board statement 2018 was once again a resoundingly successful year for the Van Gogh Museum. Vincent van Gogh and his contemporaries continue to inspire millions of people all around the world, as is reflected in the sustained high numbers of visitors to both the museum and its website. In the past year, 2,165,000 art lovers from the Netherlands and abroad visited the museum, and our online fan base grew exponentially. After being officially opened by King Willem-Alexander during a celebratory event, the exhibition Van Gogh & Japan attracted an impressive 430,000 visitors, making it a great success. Van Gogh aspires was published last year, the Strategic Plan 2018-2020 outlining how the museum will work towards realising its Strategic Pillars in the years ahead. In its endeavours to deliver and uphold its mission, vision and core values, the museum focuses on three dimensions: local, global and digital. -
U2 All Along the Watchtower U2 All Because of You U2 All I Want Is You U2 Angel of Harlem U2 Bad U2 Beautiful Day U2 Desire U2 D
U/z U2 All Along The Watchtower U2 All Because of You U2 All I Want Is You U2 Angel Of Harlem U2 Bad U2 Beautiful Day U2 Desire U2 Discotheque U2 Electrical Storm U2 Elevation U2 Even Better Than The Real Thing U2 Fly U2 Ground Beneath Her Feet U2 Hands That Built America U2 Haven't Found What I'm Looking For U2 Helter Skelter U2 Hold Me, Thrill Me, Kiss Me, Kill Me U2 I Still Haven't Found What I'm Looking For U2 I Will Follow U2 In A Little While U2 In Gods Country U2 Last Night On Earth U2 Lemon U2 Mothers Of The Disappeared U2 Mysterious Ways U2 New Year's Day U2 One U2 Please U2 Pride U2 Pride In The Name Of Love U2 Sometimes You Can't Make it on Your Own U2 Staring At The Sun U2 Stay U2 Stay Forever Close U2 Stuck In A Moment U2 Sunday Bloody Sunday U2 Sweetest Thing U2 Unforgettable Fire U2 Vertigo U2 Walk On U2 When Love Comes To Town U2 Where The Streets Have No Name U2 Who's Gonna Ride Your Wild Horses U2 Wild Honey U2 With Or Without You UB40 Breakfast In Bed UB40 Can't Help Falling In Love UB40 Cherry Oh Baby UB40 Cherry Oh Baby UB40 Come Back Darling UB40 Don't Break My Heart UB40 Don't Break My Heart UB40 Earth Dies Screaming UB40 Food For Thought UB40 Here I Am (Come And Take Me) UB40 Higher Ground UB40 Homely Girl UB40 I Got You Babe UB40 If It Happens Again UB40 I'll Be Yours Tonight UB40 King UB40 Kingston Town UB40 Light My Fire UB40 Many Rivers To Cross UB40 One In Ten UB40 Rat In Mi Kitchen UB40 Red Red Wine UB40 Sing Our Own Song UB40 Swing Low Sweet Chariot UB40 Tell Me Is It True UB40 Train Is Coming UB40 Until -
Most of What We Think We Know About the Artist Has to Do with His
Van GoGh’s h olland Most of what we think we know about the artist has to do with his tumultuous years in France, but, increasingly, the Dutch are reclaiming Van Gogh as their own By Raphael Kadushin “Drenthe is so beautiful,” Van Gogh wrote of the Dutch province, “it absorbs and fulfills me so utterly that, if I couldn’t stay here forever, I would rather not have seen it at all. It’s Photo Credit Photo Credit inexpressibly beautiful.” 50 saturdayeveningpost.com July/August 2014 July/August 2014 saturdayeveningpost.com 51 ome deaths are such cultural touchstones later, my Dutch ardor has only grown that they become imprinted on our own over the years on frequent return visits memories too, like a personal tragedy. to Holland. So it’s heartening to see my That, at least, is the case with Vincent van own swelling Dutch pride echoed by Gogh. Our collective image of the artist’s the country itself. Tired of being cast last morning, slashing away at a canvas as a pit stop on every stoners’ year in that Provençal wheat field, the angry abroad, the Netherlands is focusing on crows wheeling above like a beaky Greek chorus, the its richer, truer cultural history. sbrooding sky watching as he puts the gun to his stomach, The zealous renovation of Amster- makes for an almost operatic vision. Few endings are as dam’s trifecta of art museums that poetic or fitting; we remember Van Gogh’s masterworks frame the city’s Museumplein under- but it’s his apotheosis as the artist-turned-ultimate out- scores that rediscovery. -
Songs by Artist
Songs by Artist Karaoke Collection Title Title Title +44 18 Visions 3 Dog Night When Your Heart Stops Beating Victim 1 1 Block Radius 1910 Fruitgum Co An Old Fashioned Love Song You Got Me Simon Says Black & White 1 Fine Day 1927 Celebrate For The 1st Time Compulsory Hero Easy To Be Hard 1 Flew South If I Could Elis Comin My Kind Of Beautiful Thats When I Think Of You Joy To The World 1 Night Only 1st Class Liar Just For Tonight Beach Baby Mama Told Me Not To Come 1 Republic 2 Evisa Never Been To Spain Mercy Oh La La La Old Fashioned Love Song Say (All I Need) 2 Live Crew Out In The Country Stop & Stare Do Wah Diddy Diddy Pieces Of April 1 True Voice 2 Pac Shambala After Your Gone California Love Sure As Im Sitting Here Sacred Trust Changes The Family Of Man 1 Way Dear Mama The Show Must Go On Cutie Pie How Do You Want It 3 Doors Down 1 Way Ride So Many Tears Away From The Sun Painted Perfect Thugz Mansion Be Like That 10 000 Maniacs Until The End Of Time Behind Those Eyes Because The Night 2 Pac Ft Eminem Citizen Soldier Candy Everybody Wants 1 Day At A Time Duck & Run Like The Weather 2 Pac Ft Eric Will Here By Me More Than This Do For Love Here Without You These Are Days 2 Pac Ft Notorious Big Its Not My Time Trouble Me Runnin Kryptonite 10 Cc 2 Pistols Ft Ray J Let Me Be Myself Donna You Know Me Let Me Go Dreadlock Holiday 2 Pistols Ft T Pain & Tay Dizm Live For Today Good Morning Judge She Got It Loser Im Mandy 2 Play Ft Thomes Jules & Jucxi So I Need You Im Not In Love Careless Whisper The Better Life Rubber Bullets 2 Tons O Fun -
Pintar La Música, Escuchar La Pintura
PINTAR LA MÚSICA, ESCUCHAR LA PINTURA CICLO DE MIÉRCOLES DEL 20 DE NOVIEMBRE AL 11 DE DICIEMBRE DE 2019 1 PINTAR LA MÚSICA, ESCUCHAR LA PINTURA CICLO DE MIÉRCOLES DEL 20 DE NOVIEMBRE AL 11 DE DICIEMBRE DE 2019 FUNDACIÓN JUAN MARCH a música se desarrolla en el tiempo y la pintura en el espacio. Los sonidos y el timbre apelan al oído mientras que los colores y las líneas a los ojos. Y, pese a todo, desde los albores de la modernidad, numerosos pensadores han percibido estas dos artes como expresión paralela de una misma belleza Lesencial. No en vano, términos puramente visuales como “color” son empleados para describir ciertas creaciones musicales, mientras que se recurre a conceptos como el de “ritmo” para hablar de determinadas obras pictóricas. Este ciclo propone acercar a la experiencia de percibir en simultáneo dos obras artísticas que encierran conexiones explícitas: contemplar la pintura y escucha la música como un acto creador único que puede subvertir su esencia. Fundación Juan March Por respeto a los demás asistentes, les rogamos que desconecten sus teléfonos móviles y no abandonen la sala durante el acto. ÍNDICE 7 PINTAR LA MÚSICA, ESCUCHAR LA PINTURA Juan Manuel Viana Entre el cielo y la tierra: dioses e instrumentos Preeminencias y analogías: Ut pictura musica Convergencias El pintor escucha: de Wagner a Bach Nuevas experiencias, nuevas tecnologías Cuando el músico posa Pintura y música en danza El compositor contempla 34 Miércoles, 20 de noviembre Alberto Rosado, piano Coro de la Comunidad de Madrid 52 Miércoles, 27 de noviembre